new-york

Joe Bradley and Chris Martin

Mitchell-Innes & Nash | Chelsea

In Chris Martin’s painting Six Pillows Rose Up to Greet the Dawn—Good Morning! Good Morning!, 2007–2009, the six pillows—appended to a canvas in two rows of three—appear to have had a rough night indeed. But, per the title, they are nevertheless jaunty in their thick coatings of blue, white, pink, or yellow pigment, cheerfully registering all the depravities of facture that may occur when oil paint is slathered onto stuffed-cotton convexities. The paint is scabby and scrofulous in some places, rippled with mazelike whorls in others, while the sections that are smooth have a strangely plasticine appearance. Next to Six Pillows, in this recent show, was an untitled 2010 painting by Joe Bradley: a monumental vertical rectangle of pristine, unprimed canvas, framed by plain wooden strips that had been painted a dull dark brown. In the pair’s dual exhibition, Martin’s eclectic excesses played

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